From Screen Craft <>> "“You have to hook the audience.” “Your first few pages have to hook the studio reader or they’ll toss the script aside.” / “A script is only as good as its hook and ending.” It has seemingly come to the point where most screenwriters roll their eyes at the term. And it seems that many have dismissed it as guru or development rhetoric. “I’ll just tell my story and let it speak for itself,” many say. The fact of the matter is, the reason the term has been so prevalent in the last few decades of screenwriting and filmmaking is because the declarations of how important it is are 100% undeniably true." https://screencraft.org/2015/10/23/how-do-screenwriters-hook-the-studio-...
Screenwriting : Your first few pages have to hook the studio reader or they’ll toss the script aside. by Dimi Nakov
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Partially not true. Studio readers are employed to write coverage on the full script. If the Story Dept Head assigns a reader a script, the reader must not toss it aside.
ha! I wish I d get my scripts tossed by a Studio Reader! That means I have an Agent/Manager and I am submitting solicited scripts than unsolicited.
I have attached another link in this comment, which supports the claim how important are the first 10 pages of a feature film screenplay and no matter what anyone opinion is on this, there are countless examples out there to read through. There are always exceptions to the rule for sure. - http://www.scriptmag.com/features/craft-features/building-the-world-of-y...
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If interested, please check out my S32 class on the First 5: https://www.stage32.com/classes/How-To-Hook-Your-Reader-In-Only-5-Pages
Epic..Even better..Thank you so much Regina.D
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"A script really needs to sell in the first few pages or it probably won't sell." Dan are you talking spec scripts or all scripts?
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@Dimi, I agree, creatives make the industry work, screenwriters have a seriously important roll, they build on the basic foundations of a concept, & paint pictures to tell the story, without creatives you would simply unemploy yourself, fondest regards, duggie p.s read my update
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I highly advise taking Regina's class on the first 5 pages and her advice. It provided me a better perspective into my work. One can only learn so much though reading. Class repetition and examples really drove the point home. Can't thank Regina enough for sharing her knowledge. Dan G.'s one line of advice is the truth as well. An experienced reader, Producer, etc will know in the first few pages if they want to keep reading or put it down.
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I'm giving a very rare example here. When I was at Universal, a poorly written action spec came in. The VP who received it initially dismissed it because it was poorly executed. Maybe he read the whole thing; maybe he didn't. However, because Uni is a studio with money, almost every spec is sent to the Story Dept for coverage in hopes that no spec script slips through the cracks. When the coverage came back, it became clear that there was a bankable concept in the poorly written spec. (The coverage probably said PASS Writer, CONSIDER Concept.) The bosses ended up making an example out of the situation, and the whole team was yelled at and reminded that we have to look for a good concept, even if execution is poor. Guess what? Uni bid, but I believe Sony won the bidding war, or maybe it was Disney/Touchstone that won. The movie was never made, but that writer walked away happy with a paycheck. (This example is less applicable in TV because in TV, you need a writer who can deliver over time. In features, a better writer can be hired to rewrite you. It's not the same in TV. But that's another story for another day.) I do talk about some of these stories in my S32 class.
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Dimi, if you take my class and have questions, I'll try to answer them. Thanks!
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The above anecdote is also evidence that a legit studio would rather buy a poorly written spec with a good concept (and hire a more experienced writer to rewrite it) than "steal the idea." Because your reputation is all you have in Hollywood, and karma is a bitch, man.
Thank You so much Regina..It so good to hear that the studios will consider the concept as well and still make the best of the opportunity. As soon as i get back on my feet financially i will make sure i take your course..I want to improve as a Director and as a story teller and your experience will invaluable to me. D
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Dimi, no worries! David Levy, thanks very much for endorsing the class! I hope to work with both of you in the future as producer or consultant.
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@Dimi, Nakov, it's the idea/concept that makes money, not the movie which is purely a possible outcome, the standard logline equates to 30 words, why? if it took 50 or 100 words, who cares, sell me! sell me! sell me! duggie
Thank You Regina..I am also looking forward to collaborate with yourself and/or David Levi and learn a thing or two about our amazing industry..D
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Gotta hook em man. It's like fishing. The bigger and juicier the bait blah blah blah got em in the mouth.